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"In the wake of a century marked by inconceivable atrocity, the use of emptiness as a commemorative trope has arguably become a standard tactic, a default style of public memory. The power of the voids at and around Ground Zero is generated by their origin in real historical circumstance rather than such purely commemorative intent: They are indices as well as icons of the losses they mark.

Nowhere is the negotiation between these two possibilities–on the one hand, the co-optation of absence as tasteful mnemonic trope; on the other, absence's disruptive potential as brute historical scar–more evident than in Berlin, a city whose history, as Andreas Huyssen has argued, can be seen as a 'narrative of voids.' Writing in 1997, Huyssen saw this tale culminating in Berlin's post-wall development, defined equally by an obsessive covering-over of the city's lacunae–above all in the elaborate commercial projects then proliferating in the miles-long stretch occupied until 1989 by the Berlin Wall–and a carefully orchestrated deployment of absence as memorial device, particularly in the 'voids' integrated by architect Daniel Libeskind into his addition to the Berlin Museum, now known as the Jewish Museum Berlin."
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